the dummy doesn't control the ventriloquist. israel is nothing more than a money-laundering front and test ground for military contractors. if the pentagon's budget ever goes down, israelis will return to their ancestral homeland of miami beach.
trump gave an interview over the weekend where he said the war would be over in four weeks and repeated himself like six times, so that's likely the only marble rolling around in his skull at the moment. however, given the slow(ish) rearmament of interceptor missiles and the supposedly higher-than-expected iranian stockpiles, who knows? he may fall back to his roy cohn training and claim victory in defeat after a week or launch a nuke at four weeks plus a day.
i'm admittedly not much of a car person, but a large chunk of news i've seen of cybertrucks has been about them falling apart and shoddily built. are there any predictions of how many of that 60k will be on the road in five or ten years?
if i remember correctly, this was in his sports column for espn's "page 2" website, where most weeks he would gripe about his betting losses on nfl games. lol.
i have a coworker whose husband is "solving crimes" with a chatbot. currently, he's just focused on historical unsolved cases but by summer i'm betting he'll be slapping zipties on one of his neighbors and end up in a shoot out with sheriff's deputies
i agree with you if we are assessing the writing produced by the workshop model, but the critique here is how and why mfa programs were created, not necessarily how successful these programs were (or are) at producing the work their originators believed important. and forgive me, i'm mostly cribbing from workshops of empire, which lays out a pretty convincing case (with documentation to back it up) on which styles and aesthetics universities were to encourage (by way of syllabi, readings, students, etc.) and which were sidelined.
far from it. again, no one is saying that rothko or carver or the majority of us cold war era artists were willing propagandists, but the structural support for their work was part of a larger project to "professionalize" artists -- plugging them into various awards, foundations, grants, and universities -- so that only acceptable "transgressions" against bourgeois norms could be maintained and fostered. it's a system that exists even now. i really don't see how it's that controversial a take.
there was a parallel movement in creative writing as well. workshops of empire by eric bennett lays out how anti-collectivist (that is, anti-communist) aesthetics became core to the foundations of university mfa programs and the "workshop" model, popularized at the university of iowa program and copied elsewhere. the aesthetic priorities were to center individualist "unknowability" and examination, which re-affirms capitalists' need for people to be atomized units. for the most part, but not completely, this task was undertaken sincerely by those running the programs, since they saw themselves and all "true" artists as impossibly deep reservoirs of emotional integrity beyond the limits of the enslaved soviet mind.
the dummy doesn't control the ventriloquist. israel is nothing more than a money-laundering front and test ground for military contractors. if the pentagon's budget ever goes down, israelis will return to their ancestral homeland of miami beach.